The following is a query critique. Comments, suggestions and discussion are welcome and we hope you join in. I can only offer one opinion. The author of the query and I would love to hear yours.
Dear Ms. Ruth,
The war started with a drunkard in her library and an arrow in her arm.
The first sentence needs work. I had to read it twice to figure out that you were saying that someone had a drunkard in her home and an arrow in her arm, rather than a drunkard sitting in her own library with an arrow in her arm. Also, I’m wondering how this could possibly start a war.
Seventeen-year-old Adalmund Pratt is one of the last remaining people who can see and weave the threads of magic in her plague-ravaged country, and as such, she is the newly-appointed Advisor to the Theodyn Heir. During a peace treaty signing with the neighboring nation of Amleth, an Amleth advisor drunkenly slurs in her ear that his nation is on the brink of a revolution against the royal family, and she realizes that she and the Heir of Theodyn are in enemy territory.
This paragraph needs some serious work. First, what is the significance of seeing and weaving threads of magic? What benefit or detriment does this lend to Adalmund? Then, some world-building is necessary. What’s a Theodyn Heir? Is the Amleth advisor talking about a revolution against his country’s royal family, or that of Adalmund’s country? What is the significance of that?
The attack comes before they planned. <–You don’t need this sentence. If you want us to know the attack happened without notice, that can be done as an adjective in this next sentence. An unknown division of the Amleth army attacks and it’s an arrow through Adalmund’s shoulder and another through the throat of the Heir, who dies in her arms.
You’ve written that “it’s an arrow through Adalmund’s shoulder and another through the throat of the heir…” What is? Further, why would they attack Adalmund? Her political weight is unclear. We don’t know anything about the heir, either, so we don’t care that he died in her arms, no matter how gruesome his death. We at least need to know his importance to Adalmund if we’re expected to care about this death.
Adalmund knows that her ability remains the only chance to save Theodyn. (How? Why is this the case?)Pushing aside her own grief and feelings of failure, she doesn’t hesitate to obey when the grieving Queen sends her to spy on the Amleth army and bring the murderous army unit to justice.
My intuition tells me the real meat of your story begins with the above sentence. Since the heir dies early, and the attack doesn’t mean much to the rest of Adalmund’s journey, begin with the above sentence, which will give you much more room for world-building.
It’s not an impossible assignment until Adalmund realizes that the soldiers who attacked aren’t a part of the normal army, but are the private guards of a Prince. (What prince? Why does this matter?) The only way she can succeed is to forge a precarious truce with Peace, the mysterious leader (is this the Prince?) of the revolution in Amleth, and she’ll do it to save her country—even if the price of Peace is her life. <–This sentence is confusing. Are you talking about the price of the mysterious leader, or the price of peace?
The first in a planned series, [redacted] is a young adult fantasy novel of 75,000 words.
Thank you for your time and consideration.
I would reject this query because the important pieces of the story are not exposed properly, and I worry that will continue in the manuscript. More importantly, though, I would reject it because Adalmund has no internal struggle and doesn’t appear to face the same challenges that teens face. All the conflict is external and I like to see interplay between external and internal conflict in YA. I also know nothing about Adalmund’s personality or that of any other characters, and this is necessary for me to like the characters enough to want to see more of them.